Tezos

Life Goes On

Creator

tz1hdPXu5ZeeCB9rCZ44JE1Few58u7J9ca7s

Description

Amidst the folds of the humid Zoncuantla forest, a man reclines with the indifference of someone who knows that life will run its course, even when everything around him screams of the fragility of existence. The mask, which later would have three ocelot bones embedded in it, sheds silent tears—tears that fail to reach the wearer. Strands slide down like tears, evoking the memory of the ocelot, but the man, clad in jeans and a denim vest (another pair of jeans on his shoulders and chest), seems detached from mourning. The contrast between the stillness of his repose and the symbolic violence of the mask suggests that, to him, tragedy is merely another episode in the series of his everyday life. The image is a portrait of absurdity that might well have come from the pen of Jorge Ibargüengoitia. The wearer, with a shovel casually propped up beside him, appears as though he might rise at any moment to dig a hole—not for the ocelot, but perhaps to plant a tree, because life goes on and waits for no one. It’s a scene where death is remembered but not necessarily honored, and nature, green and generous, continues its cycle while humans carry on with their small tasks, indifferent to the majesty they are destroying. The mask, which should grant him an air of solemnity, is in fact just another accessory, as if wearing a piece of death on his face isn’t enough to disturb the calm of the one who dons it. Thus, the man becomes a metaphor for the banality with which danger and death have become part of the furniture of modern life. Here, in the dense vegetation of Zoncuantla, the ocelot mask isn’t a statement of mourning but an ironic reminder that rest is possible even in the midst of tragedy. In the end, this is a scene where the ocelot’s drama becomes just another detail in the life of someone who, oblivious to the tragedy, lounges among the greenery in his own private comedy, as cryptic as it is ordinary. To understand the ocelot’s story, one must read the series description and/or navigate through the texts of the other works. - Egon MonsivAIs Photogrammetry by Santiago G. Escobedo @soy_mi_experimento ///////////////////////////////// 52 WEEKS ARTISTS DROP is an independent and pioneering proposal in digital art organized by NftCanarias where a group of important artists from the Spanish and Latin American cryptoart scene will release 52 works (one per week) during the 52 weeks of the year 2024. Our goal is to encourage collaboration between artists, support artists who are joining the cryptoart scene and build a network of collectors linked to the project. https://nftcanarias.org/